Unruly Tools’s premise—to consider the tools of contemporarypainters ranging from squeegees to spray cans to computers—is deceptivelysimple yet profoundly original because it readily displaces two persistentmisconceptions about painting: one being that the medium has remained more orless unchanged for centuries and to this day; the other that, in keepingwith repeated proclamations across the 20th century, painting has beenfinished. To boot, Gottschaller's technical expertise is never an endin and of itself but a path toward making sense of painters as thinkers. Lucidand engaging prose betrays the experience of a conservation scholar who hasboth taught and been a regular in artist’s studios for decades. — Christine Mehring, Mary L. Block Professor, Universityof Chicago